Interaction (real and unreal)

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Flatland by Adele Cochrane

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There's a sense of another dimension in this particular editorial. Although the model is just lying down on a studio set, the digital manipulation on the background is so playful and believable like the models are entering a dream, a world where reality doesn't exist. To compose this kind of images, planning process is really important. The background needed to be somewhat planned out before the model is shot, so that the photographer knows what sort of pose the model would be doing. The colours also play a big role in this. The contrast of blue and pink pastels really get my eyes drawn into the garment as a center of interest and then observing the surrounding afterwards. In any image I would be taking, I need to consider: composition, posing, colours, and manipulation ideas. 

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HASSELBLAD MASTERS - EVOLVE by Bara Prasilova

"In the usual sense the word ‘Evolve’ means a development, a sequence of events, referring forward to the future. To me, the future is strongly connected to the past and I need to explore my history to be able to make a step forward. Through my photographs I have been trying to understand human and connections: long hair symbolises the invisible strings we use to strap somebody to us or, perhaps, the opposite, to let somebody loose. They are the threads of our emotions, worries and fears that we are affraid to loosen like hair."
 
When I first looked at the images, I was struck with the visual. I was inspired by the emotionless of the model and the emptiness association with long hair along with the type of fantasy visual. The background colours although not as contrasting as the one above, still is visually striking because it compliments the garment the model is wearing quite well. The styling is elegant light pink dresses, while the use of green/blue pastel helps the focus to be remained on the garment. I wouldn't understand the metaphor the artist was trying to convey unless I read the description. Nevertheless, this is a very good example of how photographs in the studio can be manipulated by placing things where they're not supposed to be to add the element of playfulness to the piece.
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Character design in the real world

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I thought that these are such cute graphic probably for children-teenager because it's got cartoon characters in it. I could use the idea of creating an imaginary models wearing which ever cloth I wanted her to wear, which could be designers cloth, or just the style that would match the background photograph. The imaginary character can be either created digitally or via illustration. I could drew really quirky and edgy models to really contrast with the reality scene in the background. This is an interesting method to be considering during experimentation period because it would allow me to explore illustration and also editing skills on Photoshop.

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Tears As They Dry
 Photography/Illustration By: Josephine Cardin
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This is another example of incorporating illustration into editorial shoot, but instead, the splash of paint is used as a background. These images are in monochrome palette, and I think it's a very suitable palette for the concept because I felt pretty haunted by looking at these. The model's pose and the way the paint is splashed, it seems like the model is struggling to break through of herself. It's like her head might explode soon if she cannot express what she's feeling. Although the piece doesn't contain much element in it, but it's so deep and really leave the audience to tell a story of their own based on the posture and how the paint is intreating with the model. I really want to create something like this that's visually striking and also have the viewer participate in it as well.

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"Changes"

Colaboration with Matthieu Bourel for L'Officiel Mexico

Photographed by Anairam

 

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This is a very unique way of collaging. Usually the beauty section of a magazine would have a close up shot like this, but all the details on the face is shown as a single image. However, in this the artist has collaged the model's face via organic cutting line as if the model is traveling back and forth on the page. Also, the background colours of brown and blue compromise each other so that the editorial spread doesn't contain too much of a bright or a dark atmosphere. The spread is carried out with similar method in each image but every one of them varies in different ways of putting the model's face together. I could try this method of collage in the future but probably from found images or something other than close-up shots to try is this also works with other objects.

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Between Lock and Key
 
Photography/Illustration by Josephine Cardin
 
"A self-portraiture series exploring the dichotamy of how we have both the ability to mentally imprison ourselves, while simultaneously holding the key to unlocking our freedom."
 
The manipulation in here is just series of white lines surrounding different parts of the model. The expression and posing of the model really work perfectly with the added lines. It is clear that the message of the artist is the model is trying to break of the limitation both physically and mentally (metaphorically visualized by the white illustration) that's forcing her to act or express herself. The vignette and old-fashioned filter works well with this because reminds me of an old photographs, which often reveal how women aren't treated rightfully. It's important for me to understand the mood of the picture I'm going for, and that the filter needs to match the overall atmosphere of the shoot.
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